document_title: Analytical Engine

question_text: who wrote a program for the analytical engine to calculate a series of bernoulli numbers

text: Analytical Engine

text: Design[edit]

text: Babbage's first attempt at a mechanical computing device, the Difference Engine, was a special-purpose machine designed to tabulate logarithms and trigonometric functions by evaluating finite differences to create approximating polynomials. Construction of this machine was never completed; Babbage had conflicts with his chief engineer, Joseph Clement, and ultimately the British government withdrew its funding for the project.[9][10][11]

text: During this project, he realized that a much more general design, the Analytical Engine, was possible.[9] The work on the design of the Analytical Engine started in c. 1833.[12][4]

text: The input, consisting of programs and data ("formulae" and "data")[13][9] was to be provided to the machine via punched cards, a method being used at the time to direct mechanical looms such as the Jacquard loom.[14] For output, the machine would have a printer, a curve plotter and a bell.[9] The machine would also be able to punch numbers onto cards to be read in later. It employed ordinary base-10 fixed-point arithmetic.[9]

text: There was to be a store (that is, a memory) capable of holding 1,000 numbers of 40 decimal digits[15] each (ca. 16.2 kB). An arithmetic unit (the "mill") would be able to perform all four arithmetic operations, plus comparisons and optionally square roots.[16] Initially (1838) it was conceived as a difference engine curved back upon itself, in a generally circular layout, with the long store exiting off to one side.[17] Later drawings (1858) depict a regularized grid layout.[18] Like the central processing unit (CPU) in a modern computer, the mill would rely upon its own internal procedures, to be stored in the form of pegs inserted into rotating drums called "barrels", to carry out some of the more complex instructions the user's program might specify.[7]

text: The programming language to be employed by users was akin to modern day assembly languages. Loops and conditional branching were possible, and so the language as conceived would have been Turing-complete as later defined by Alan Turing. Three different types of punch cards were used: one for arithmetical operations, one for numerical constants, and one for load and store operations, transferring numbers from the store to the arithmetical unit or back. There were three separate readers for the three types of cards. Babbage developed some two dozen programs for the Analytical Engine between 1837 and 1840, and one program later.[14][19] These programs treat polynomials, iterative formulas, Gaussian elimination, and Bernoulli numbers.[14][20]

text: In 1842, the Italian mathematician Luigi Federico Menabrea published a description of the engine based on a lecture by Babbage in French. In 1843, the description was translated into English and extensively annotated by Ada Lovelace, who had become interested in the engine eight years earlier. In recognition of her additions to Menabrea's paper, which included a way to calculate Bernoulli numbers using the machine, she has been described as the first computer programmer.

text: Construction[edit]

text: Late in his life, Babbage sought ways to build a simplified version of the machine, and assembled a small part of it before his death in 1871.[7][1][22]

text: In 1878, a committee of the British Association for the Advancement of Science described the Analytical Engine as "a marvel of mechanical ingenuity", but recommended against constructing it. The committee acknowledged the usefulness and value of the machine, but could not estimate the cost of building it, and were unsure whether the machine would function correctly after being built.[23][24]

text: Intermittently from 1880 to 1910,[25] Babbage's son Henry Prevost Babbage was constructing a part of the mill and the printing apparatus. In 1910 calculated a (faulty) list of multiples of pi.[26] This constituted only a small part of the whole engine; it was not programmable and had no storage. (Popular images of this section have sometimes been mislabelled, implying that it was the entire mill or even the entire engine.) Henry Babbage's "Analytical Engine Mill" is on display at the Science Museum in London.[21] Henry also proposed building a demonstration version of the full engine, with a smaller storage capacity: "perhaps for a first machine ten (columns) would do, with fifteen wheels in each".[27] Such a version could manipulate 20 numbers of 25 digits each, and what it could be told to do with those numbers could still be impressive. "It is only a question of cards and time", wrote Henry Babbage in 1888, "... and there is no reason why (twenty thousand) cards should not be used if necessary, in an Analytical Engine for the purposes of the mathematician".[27]

text: In 1991, the London Science Museum built a complete and working specimen of Babbage's Difference Engine No. 2, a design that incorporated refinements Babbage discovered during the development of the Analytical Engine.[5] This machine was built using materials and engineering tolerances that would have been available to Babbage, quelling the suggestion that Babbage's designs could not have been produced using the manufacturing technology of his time.[28]

text: In October 2010, John Graham-Cumming started a "Plan 28" campaign to raise funds by "public subscription" to enable serious historical and academic study of Babbage's plans, with a view to then build and test a fully working virtual design which will then in turn enable construction of the physical Analytical Engine.[29][30]  As of May 2016, actual construction had not been attempted, since no consistent understanding could yet be obtained from Babbage’s original design drawings. In particular it was unclear whether it could handle the indexed variables which were required for Lovelace's Bernoulli program.[31] By 2017, the "Plan 28" effort reported that a searchable database of all catalogued material was available, and an initial review of Babbage’s voluminous Scribbling Books had been completed.[32]

text: Instruction set[edit]

text: Babbage is not known to have written down an explicit set of instructions for the engine in the manner of a modern processor manual.  Instead he showed his programs as lists of states during their execution, showing what operator was run at each step with little indication of how the control flow would be guided.

text: Allan G. Bromley has assumed that the card deck could be read in forwards and backwards directions as a function of conditional branching after testing for conditions, which would make the engine Turing-complete:

text: ...the cards could be ordered to move forward and reverse (and hence to loop)...[14]

text:
The introduction for the first time, in 1845, of user operations for a variety of service functions including, most importantly, an effective system for user control of looping in user programs.
There is no indication how the direction of turning of the operation and variable cards is specified. In the absence of other evidence I have had to adopt the minimal default assumption that both the operation and variable cards can only be turned backward as is necessary to implement the loops used in Babbage’s sample programs. There would be no mechanical or microprogramming difficulty in placing the direction of motion under the control of the user.[33]

text: In their emulator of the engine, Fourmilab say:

text: The Engine's Card Reader is not constrained to simply process the cards in a chain one after another from start to finish. It can, in addition, directed by the very cards it reads and advised by the whether the Mill's run-up lever is activated, either advance the card chain forward, skipping the intervening cards, or backward, causing previously-read cards to be processed once again.

text: This emulator does provide a written symbolic instruction set, though this has been constructed by its authors rather than based on Babbage's original works.  For example, a factorial program would be written as:

text: where the CB is the conditional branch instruction or "combination card" used to make the control flow jump, in this case backwards by 11 cards.

text: Influence[edit]

text: Predicted influence[edit]

text: Babbage understood that the existence of an automatic computer would kindle interest in the field now known as algorithmic efficiency, writing in his Passages from the Life of a Philosopher, "As soon as an Analytical Engine exists, it will necessarily guide the future course of the science. Whenever any result is sought by its aid, the question will then arise—By what course of calculation can these results be arrived at by the machine in the shortest time?"[34]

text: Computer science[edit]

text: From 1872 Henry continued diligently with his father's work and then intermittently in retirement in 1875.[35]

text: Percy Ludgate wrote about the engine in 1914 and designed his own Analytical Engine (it was drawn up in detail, but never built) about 1907-1909.[36] Ludgate's engine would be much smaller than Babbage's of about 8 cubic feet (230 l), and hypothetically would be capable of multiplying two 20-decimal-digit numbers in about six seconds.[37]

text: Torres y Quevedo wrote about Babbage's engines in Essays on Automatics (1913). Book contains design for an electromechanical machine capable of calculating completely automatically the value of a function.[37]

text: Vannevar Bush's paper Instrumental Analysis (1936) included several references to Babbage’s work. In the same year started Rapid Arithmetical Machine project to investigate the problems of constructing an electronic digital computer.[37]

text: Despite this groundwork, Babbage's work fell into historical obscurity, and the Analytical Engine was unknown to builders of electro-mechanical and electronic computing machines in the 1930s and 1940s when they began their work, resulting in the need to re-invent many of the architectural innovations Babbage had proposed. Howard Aiken, who built the quickly-obsoleted electromechanical calculator, the Harvard Mark I, between 1937 and 1945, praised Babbage's work likely as a way of enhancing his own stature, but knew nothing of the Analytical Engine's architecture during the construction of the Mark I, and considered his visit to the constructed portion of the Analytical Engine "the greatest disappointment of my life".[38] The Mark I showed no influence from the Analytical Engine and lacked the Analytical Engine's most prescient architectural feature, conditional branching.[38] J. Presper Eckert and John W. Mauchly similarly were not aware of the details of Babbage's Analytical Engine work prior to the completion of their design for the first electronic general-purpose computer, the ENIAC.[39][40]

text: Comparison to other early computers[edit]

text:
If the Analytical Engine had been built, it would have been digital, programmable and Turing-complete. It would, however, have been very slow. Luigi Federico Menabrea reported in Sketch of the Analytical Engine: "Mr. Babbage believes he can, by his engine, form the product of two numbers, each containing twenty figures, in three minutes".[41]
By comparison the Harvard Mark I could perform the same task in just six seconds. A modern PC can do the same thing in well under a billionth of a second.

text:
Name

First operational

Numeral system

Computing mechanism

Programming

Turing complete

Memory

Difference Engine

Not built until the 1990s

Decimal

Mechanical

Not programmable; initial numerical constants of polynomial differences set physically

No

Physical state of wheels in axes

Analytical Engine

Not yet built

Decimal

Mechanical

Program-controlled by punched cards

Yes

Physical state of wheels in axes

Bombe (Poland, UK, US)

1939 (Polish), March 1940 (British), May 1943 (US)

Character computations

Electro-mechanical

Not programmable; cipher input settings specified by patch cables

No

Physical state of rotors

Zuse Z3 (Germany)

May 1941

Binary floating point

Electro-mechanical

Program-controlled by punched 35 mm film stock

In principle

Mechanical relays

Atanasoff–Berry Computer (US)

1942

Binary

Electronic

Not programmable; linear system coefficients input using punched cards

No

Regenerative capacitor memory

Colossus Mark 1 (UK)

December 1943

Binary

Electronic

Program-controlled by patch cables and switches

No

Thermionic valves (vacuum tubes) and thyratrons

Harvard Mark I – IBM ASCC (US)

May 1944

Decimal

Electro-mechanical

Program-controlled by 24-channel punched paper tape (but no conditional branch)

No

Mechanical relays[42]

Zuse Z4 (Germany)

March 1945 (or 1948)[43]

Binary floating point

Electro-mechanical

Program-controlled by punched 35 mm film stock

Yes

Mechanical relays

ENIAC (US)

July 1946

Decimal

Electronic

Program-controlled by patch cables and switches

Yes

Vacuum tube triode flip-flops

Manchester Baby (UK)

1948

Binary

Electronic

Binary program entered into memory by keyboard[44] (first electronic stored-program digital computer)

Yes

Williams cathode ray tube

text: In popular culture[edit]

text: This article may contain minor, trivial or unrelated fictional references. Trivia or references unimportant to the overall plot of a work of fiction should be edited to explain their importance or deleted. (August 2012)

text:
The cyberpunk novelists William Gibson and Bruce Sterling co-authored a steampunk novel of alternative history titled The Difference Engine in which Babbage's Difference and Analytical Engines became available to Victorian society. The novel explores the consequences and implications of the early introduction of computational technology.
There is also mention of the Analytical Engine (or the Clockwork Ouroboros as it is also known there) in The Book of the War, a Faction Paradox anthology edited by Lawrence Miles. This machine was used to calculate a way into the "Eleven Day Empire". Its use resulted in the destruction of the original Houses of Parliament.
In the novel Perdido Street Station, by British author China Miéville, engines similar to Babbage's serve as "brains" for the robotic constructs of the city of New Crobuzon. One such engine even develops sentient thought due to a recursive algorithmic loop.
The British Empire of The Peshawar Lancers by S. M. Stirling features a massive water-powered analytical engine at Oxford, used by two of the main characters. It is noted that most of the engines run on steam, and that an even larger one is under construction at the British Capital in Delhi.
In the Michael Flynn novel In the Country of the Blind, a secret society calling itself the Babbage Society secretly financed the building of Babbage Engines in the mid-19th century. In the novel, the Society uses the Babbage engines along with a statistical science called Cliology to predict and manipulate future history. In the process, they predict the rise of the Nazis and accidentally start the US Civil War.
In the Neal Stephenson novel The Diamond Age, ubiquitous molecular nanotechnology is described to make use of "rod logic" similar to that imagined by Babbage's design for the Analytical Engine.
Moriarty by Modem, a short story by Jack Nimersheim, describes an alternate history where Babbage's Analytical Engine was indeed completed and had been deemed highly classified by the British government. The characters of Sherlock Holmes and Moriarty had in reality been a set of prototype programs written for the Analytical Engine. This short story follows Holmes as his program is rebooted on modern computers and he is forced to compete against his nemesis yet again in the modern counterparts of Babbage's Analytical Engine.[45]
A similar setting is used by Sydney Padua in the webcomic The Thrilling Adventures of Lovelace and Babbage.[46][47] It features an alternate history where Ada Lovelace and Babbage have built the Analytical Engine and use it to fight crime at Queen Victoria's request.[48] The comic is based on thorough research on the biographies of and correspondence between Babbage and Lovelace, which is then twisted for humorous effect.
Georgia on My Mind is a novelette by Charles Sheffield which involves two major themes: being widowed and the quest for a legendary Babbage computer.
Hugh Cook's fantasy novels The Wishstone and the Wonderworkers and The Wazir and the Witch feature an Analytical Engine created by the scientist Ivan Petrov. It is used to calculate income tax.
The Orion's Arm online project features the Machina Babbagenseii, fully sentient Babbage inspired mechanical computers. Each is the size of a large asteroid, only capable surviving in microgravity conditions, and processes data at 0.5% the speed of a human brain.[49]
The flying ships in the anime Last Exile are seen to have analytical engines inside of them. Although some have more advanced technology, the common ships use analytical engines, and even some of the advanced ships are seen to have clockwork mechanisms as well.
A working version of the Analytical Engine, created by fictional inventor Ernest Harding (and based on the Babbage concept) was featured on the Murdoch Mysteries (also called The Artful Detective), in Season 5, Episode 9, Invention Convention.[50]


document_title: Beauty and the Beast (2017 film)

question_text: where does beauty and the best take place

root

text: Beauty and the Beast (2017 film)

text: Plot

text: In Rococo-era France, an enchantress disguised as a beggar arrives at a ball and offers the host, a coldhearted prince, a rose for shelter. When he refuses, she transforms him into a beast and his servants into household objects, and erases the castle from the memories of their loved ones. She casts a spell on the rose and warns the prince that the curse will never lift unless he learns to love another, and earn their love in return, before the last petal falls.

tag: p

text: Years later, in the village of Villeneuve, Belle dreams of adventure and brushes off advances from Gaston, an arrogant former soldier. Lost in the forest, Belle's father Maurice seeks refuge in the Beast's castle, but the Beast imprisons him for stealing a rose. Belle ventures out in search for him and finds him locked in the castle dungeon. The Beast agrees to let her take Maurice's place.

text: Belle befriends the castle's servants, who treat her to a spectacular dinner. When she wanders into the forbidden west wing and finds the rose, the Beast, enraged, scares her into the woods. She is cornered by wolves, but the Beast rescues her and is injured in the process. A friendship develops as Belle nurses his wounds. The Beast shows Belle a gift from the enchantress, a book that transports readers wherever they want. Belle uses it to visit her childhood home in Paris, where she discovers a plague doctor mask. Belle realises that she and her father were forced to leave her mother's deathbed as her mother succumbed to the plague.

text: In Villeneuve, Gaston sees rescuing Belle as an opportunity to win her hand in marriage and agrees to help Maurice. When Maurice learns of his ulterior motive and rejects him, Gaston abandons him to the wolves. Maurice is rescued by the beggar Agathe, but when he tells the townsfolk of Gaston's crime, Gaston convinces them to send Maurice to an insane asylum.

text: After sharing a romantic dance with the Beast, Belle discovers her father's predicament using a magic mirror. The Beast releases her to save Maurice, giving her the mirror to remember him with. At Villeneuve, Belle proves Maurice's sanity by revealing the Beast in the mirror to the townsfolk. Realizing that Belle loves the Beast, Gaston has her thrown into the asylum carriage with her father and rallies the villagers to follow him to the castle to slay the Beast. Maurice and Belle escape and Belle rushes back to the castle.

text: During the battle, Gaston abandons his companion LeFou, who then sides with the servants to fend off the villagers. Gaston attacks the Beast in his tower, who is too depressed to fight back, but regains his will upon seeing Belle return. He overpowers Gaston but spares his life before reuniting with Belle. However, Gaston fatally shoots the Beast from a bridge, but it collapses when the castle crumbles and he falls to his death. The Beast dies as the last petal falls and the servants become inanimate. When Belle tearfully professes her love to him, Agathe reveals herself as the enchantress and undoes the curse, repairing the crumbling castle and restoring the Beast's and servants' human forms and the villagers' memories. The Prince and Belle host a ball for the kingdom, where they dance happily.

text: Cast

text:
Emma Watson as Belle, a benevolent bibliophile who develops feelings for the Beast and begins to see the humanity within him.

Daisy Duczmal portrays an infant Belle.

Dan Stevens as The Prince / Beast, a cold-hearted prince who is transformed into a hideous beast and forced to earn back his humanity by learning to truly love and be loved in return.[9][10]

Rudi Goodman portrays the Prince as a child.
Adam Mitchell provides the young prince's singing voice.

Luke Evans as Gaston, a narcissistic and arrogant hunter and veteran of the French Royal Army who is willing to go as far as it takes to have Belle as his trophy wife.
Kevin Kline as Maurice, Belle's protective widowed father.[11]

Jolyon Coy portrays the young Maurice.

Josh Gad as LeFou, Gaston's flamboyant and long-suffering sidekick who bolsters his friend's ego but gets very little in return.[12]
Ewan McGregor as Lumière, the Beast's charismatic bouteiller who has been transformed into a candelabra.[13]
Stanley Tucci as Maestro Cadenza, the neurotic court composer and Madame de Garderobe's husband who has been transformed into a harpsichord.[14]
Ian McKellen as Cogsworth, the Beast's gruff but loyal majordomo and the head of the household staff who has been transformed into a mantel clock.[15]
Emma Thompson as Mrs. Potts, the castle's motherly head housekeeper who has been transformed into a teapot.[11]
Audra McDonald as Madame de Garderobe, a world-renowned opera singer and Cadenza's wife who has been transformed into a wardrobe.[16]
Gugu Mbatha-Raw as Plumette, one of the castle maids and Lumière's lover who has been transformed into a feather duster.[17]
Nathan Mack as Chip, Mrs. Potts' plucky son who has been transformed into a teacup.[18]
Hattie Morahan as Agathe, an impoverished hermit and resident of Villeneuve who, in reality, is the Enchantress responsible for cursing the Prince.[19] Morahan also narrates the prologue.

Rita Davies portrays the Enchantress in her beggar woman form.

Adrian Schiller as Monsieur D'Arque, the sly warden of the local asylum who is bribed by Gaston to have Maurice institutionalized.[19]
Gerard Horan as Monsieur Jean Potts, an absent-minded potter and resident of Villeneuve who is later revealed to be Mrs. Potts' husband and Chip's father.
Haydn Gwynne as Clothilde, a resident of Villeneuve who is later revealed to be Cogsworth's wife.
Michael Jibson as the Tavern Keeper, the owner and keeper of Villeneuve's local tavern where Gaston and the village residents drink.
Ray Fearon as Père Robert, Villeneuve's local chaplain who encourages Belle to borrow the books in the chapel's meager library.
Sophie Reid, Rafaëlle Cohen, and Carla Nella as the Village Lasses, a trio of women who fawn over Gaston and have a jealousy for Belle.
Jimmy Johnston, Dean Street, and Alexis Loizon as Tom, Dick, and Stanley, a trio of men who serve as Gaston's henchmen.
Zoe Rainey as Belle's mother, Maurice's late wife who contracted the plague and died when Belle was an infant.
Clive Rowe as Cuisinier, the castle's head chef who has been transformed into a stove.
Gizmo as Frou-Frou, Maestro Cadenza's and Madame de Garderobe's pet Yorkshire Terrier who has been transformed into a footstool.
Thomas Padden as Chapeau, the Prince's valet who has been transformed into a coat rack.
Henry Garrett as The King, The Prince's father who, following his wife's death, raised his son to be just as selfish and arrogant as he was.
Harriet Jones as The Queen, The Prince's mother who died of an illness when he was a child.

tag: ul

text: Stephen Merchant also appeared in the film as Monsieur Toilette, a servant who was turned into a toilet. This character was cut from the film, but is featured in the deleted scenes.[20]

text: Production

text: Development

text: Previously, Disney had begun work on a film adaptation of the 1994 Broadway musical.[21][22] However, in a 2011 interview, composer Alan Menken stated the planned film version of the Beauty and the Beast stage musical "was canned".[23]

text: By April 2014, Walt Disney Pictures had already begun developing a new live-action version and remake of Beauty and the Beast after making other live-action fantasy films such as Alice in Wonderland, Maleficent, Cinderella and The Jungle Book.[24] In June 2014, Bill Condon was signed to direct the film from a script by Evan Spiliotopoulos.[25] Later in September of that same year, Stephen Chbosky (who had previously directed Watson in The Perks of Being a Wallflower) was hired to re-write the script.[26]

text: Before Condon was hired to direct the film, Disney approached him with a proposal to remake the film in a more radical way as Universal Studios had remade Snow White and the Huntsman (2012). Condon later explained that "after Frozen opened, the studio saw that there was this big international audience for an old-school-musical approach. But initially, they said, 'We're interested in a musical to a degree, but only half full of songs.' My interest was taking that film and doing it in this new medium—live-action—as a full-on musical movie. So I backed out for a minute, and they came back and said, 'No, no, no, we get it, let's pursue it that way.'"[27] Walt Disney Pictures president of production Sean Bailey credited Walt Disney Studios chairman Alan F. Horn with the decision to make the film as a musical: "We worked on this for five or six years, and for 18 months to two years, Beauty was a serious dramatic project, and the scripts were written to reflect that. It wasn't a musical at that time. But we just couldn't get it to click and it was Alan Horn who championed the idea of owning the Disney of it all. We realized there was a competitive advantage in the songs. What is wrong with making adults feel like kids again?"[28]

text: Casting

text: In January 2015, Emma Watson announced that she would be starring as Belle, the female lead.[29] Watson was the first choice of Walt Disney Studios chairman Alan F. Horn, as he had previously overseen Warner Bros. which released the eight Harry Potter films that co-starred Watson as Hermione Granger.[28] Two months later, Luke Evans and Dan Stevens were revealed to be in talks to play Gaston and the Beast respectively,[30][31] and Watson confirmed their casting the following day through tweets.[9][32] The rest of the principal cast – Josh Gad, Emma Thompson, Kevin Kline, Audra McDonald, Ian McKellen, Gugu Mbatha-Raw, Ewan McGregor, and Stanley Tucci – were announced between March and April of that same year to play LeFou, Mrs. Potts, Maurice, Madame de Garderobe, Cogsworth, Plumette, Lumière and Cadenza, respectively.[12][11][16][15][17][13][14][33]

text: Susan Egan, who originated the role of Belle on Broadway, commented on the casting of Watson as "perfect".[34] Paige O'Hara, who voiced Belle in the original animated film and its sequels, offered to help Watson with her singing lessons.[35]

text: According to The Hollywood Reporter, Emma Watson was reportedly paid $3 million upfront, together with an agreement that her final take-home pay could rise as high as $15 million if the film generated gross box office income similar to Maleficent's $759 million worldwide gross.[36]

text: Filming

text: Principal photography on the film began at Shepperton Studios in Surrey, England, on May 18, 2015.[11][37][38] Filming with the principal actors concluded on August 21.[39][40] Six days later, co-producer Jack Morrissey confirmed that the film had officially wrapped production.[41]

text: The Beast was portrayed with a “more traditional motion capture puppeteering for the body and the physical orientation", where actor Dan Stevens was "in a forty-pound gray suit on stilts for much of the film". The facial capture for the Beast was done separately in order to "communicate the subtleties of the human face" and "[capture the] thought that occurs to him" which gets "through [to] the eyes, which are the last human element in the Beast.” The castle servants who are transformed into household objects were created with CGI animation.[6]

text: Music

text: When released in 1991, Beauty and the Beast marked a turning point for Walt Disney Pictures by appealing to millions of fans with its Oscar-winning musical score by lyricist Howard Ashman and composer Alan Menken. In Bill Condon's opinion, that original score was the key reason he agreed to direct a live-action version of the movie. "That score had more to reveal", he says, "You look at the songs and there's not a clunker in the group. In fact, Frank Rich described it as the best Broadway musical of 1991. The animated version was already darker and more modern than the previous Disney fairytales. Take that vision, put it into a new medium, make it a radical reinvention, something not just for the stage because it's not just being literal, now other elements come into play. It's not just having real actors do it".[42]

text: Condon initially prepared on only drawing inspiration from the original film, but he also planned to include most of the songs composed by Alan Menken, Howard Ashman and Tim Rice from the Broadway musical, with the intention of making the film as a "straight-forward, live-action, large-budget movie musical".[43] Menken returned to score the film's music, which features songs from the original film by him and Howard Ashman, plus new material written by Menken and Tim Rice.[44] Menken said the film will not include songs that were written for the Broadway musical and instead, created four new songs.[45] However, an instrumental version of the song "Home", which was written for the musical, is used during the scene where Belle first enters her room in the castle.[46]

text: On January 19, 2017, it was confirmed by both Disney and Céline Dion - singer of the original 1991 Beauty and the Beast duet song, with singer Peabo Bryson - that Dion would be performing one of the new original songs "How Does a Moment Last Forever" to play over the end titles.[47] She originally had doubts about whether or not to record the song due to the recent death of her husband and manager René Angélil, who had previously helped her secure the 1991 pop duet. While ultimately accepting the opportunity, she said: "[The] first Beauty and the Beast decision was made with my husband. Now I'm making decisions on my own. It's a little bit harder. I couldn't say yes right away, because I felt like I was kind of cheating in a way".[18] She eventually felt compelled to record the song because of the impact Beauty and the Beast has had on her career. According to Dion, "I was at the beginning of my career, it put me on the map, it put me where I am today".[9] Also, Josh Groban was announced to be performing the new original song "Evermore" on January 26, 2017.[48][49][50][51]

text: The 2017 film features a remake of the 1991 original song Beauty and the Beast recorded as a duet by Ariana Grande and John Legend.[52][53] Grande and Legend's updated version of the Beauty and the Beast title song is faithful to the original, Grammy-winning duet, performed by Céline Dion and Peabo Bryson for the 1991 Disney classic.[54]

text: Emma Thompson also performed a rendition of "Beauty and the Beast", which was performed by Angela Lansbury in the original 1991 animated film release.[55]

text: Disney debuted the music video for Ariana Grande and John Legend's interpretation of the new Beauty and the Beast song on Disney's Freeform television network on March 5, 2017, and it has since attained over 100 million video views on the Vevo video hosting service.[55]

text: Release

text: On March 16, 2015, Disney announced the film would be released in 3D on March 17, 2017.[11] The first official presentation of the film took place at Disney's three-day D23 Expo in August 2015.[56]

text: The world premiere of Beauty and the Beast took place on February 23, 2017, at Spencer House in London, England;[57] and the film later premiered at the El Capitan Theatre in Hollywood, California, on March 2, 2017. The stream was broadcast onto YouTube.

text: A sing along version of the film released in over 1,200 US theaters nationwide on April 7, 2017.[58] The United Kingdom received the same version on April 21, 2017.[citation needed]

text: Marketing

text: Disney spent around $140 million for marketing the film worldwide.[59] Following an announcement on May 22, 2016,[60] Disney premiered the first official teaser trailer on Good Morning America the next day.[61] In its first 24 hours, the teaser trailer reached 91.8 million views, which topped the number of views seen in that amount of time in history, including for the teasers for other films distributed by Disney such as Avengers: Age of Ultron, Star Wars: The Force Awakens and Captain America: Civil War.[62] This record has since been broken by Thor: Ragnarok and It.[63] The first official teaser poster was released on July 7, 2016.[64] On November 2, 2016, Entertainment Weekly debuted the first official image on the cover of their magazine for the week along with nine new photos as well.[65][66] One week later, Emma Watson and Disney debuted a new poster for the film.[67] On November 14, 2016, the first theatrical trailer was released again on Good Morning America.[68] The trailer reached 127.6 million views in its first 24 hours, setting a new record as the trailer with the most views in one day, beating out Fifty Shades Darker.[69] This record has since been broken again by The Fate of the Furious.[70] A TV spot with Watson singing was shown during the 74th Golden Globe Awards.[71] Disney released the final trailer on January 30, 2017.[72]

text: Home media

text: Beauty and the Beast was released on Blu-ray, DVD and Digital HD on June 6, 2017.[73] The film debuted at No. 1 on the NPD VideoScan overall disc sales chart, with all other titles in the top 20, collectively, selling only 40% as many units as Beauty and the Beast.[74] The movie regained the top spot on the national home video sales charts during its third week of release.[75]

text: Reception

text: Box office

text: Beauty and the Beast grossed $504 million in the United States and Canada and $758.6 million in other territories for a worldwide gross of $1.262 billion.[a] With a production budget of $160 million, it is the second-most expensive musical ever made; only Hello, Dolly! (1969) with a budget of $25 million ($165 million in 2016 dollars) cost more.[4] In just ten days, it became the highest-grossing live-action musical of all time, beating the nine-year-old record held by Mamma Mia!. It is currently the second biggest musical ever overall, behind Disney's Frozen (2013).[77] Worldwide, the film proved to be a global phenomenon, earning a total of $357 million over its four-day opening weekend from 56 markets. Critics said the film was playing like superhero movies amongst women. It was the second biggest March global opening, behind only Batman v Superman: Dawn of Justice, the thirteenth-biggest worldwide opening ever and the seventh-biggest for Disney.[78] This includes $21 million from IMAX plays on 1,026 screens, a new record for an IMAX PG title.[79] It surpassed the entire lifetime total of the original film in just six days.[80][81]

text: Beauty and the Beast is the 300th digitally remastered release in IMAX company's history, which began with the re-release of Apollo 13 in 2002. Its robust global debut helped push the company past $6 billion for the first time,[82] and led to analysts believing that the film had a shot of passing $1 billion worldwide from theatrical earnings.[83][84][85][86] On April 12, it passed the $1 billion threshold, becoming the first film of 2017, the fourteenth Disney film, and the twenty-ninth film overall to pass the mark. It became the first film since Rogue One (also a Disney property) in December 2016 to make over a billion dollars, and did so on its twenty-ninth day of release.[87][88][89] It is currently the highest-grossing film of 2017,[90] the highest-grossing March release,[91] the highest-grossing remake of all-time,[92] and the fifth biggest Disney film.[93] Even after inflation adjusted, it is still ahead of the $425 million gross ($760 million in 2017 dollars) of the original film.[92]

text: North America

text: In the United States and Canada, Beauty and the Beast topped Fandango's pre-sales and became the fastest-selling family film in the company's history, topping the studio's own animated film Finding Dory released the previous year. Early tracking had the film grossing around $100 million in its opening weekend, with some publications predicting it could reach $130 million.[94][95][96] By the time the film's release was 10 days away, analysts raised projections to as high as $150 million.[97][98] It earned $16.3 milion from Thursday previews night, marking the biggest of 2017 (breaking Logan's record), the biggest ever for a Disney live-action film (breaking Maleficent's record), the second biggest ever for both a G or PG-rated film (behind the sixth Harry Potter film Harry Potter and the Half-Blood Prince which also starred Watson), and the third biggest ever in the month of March (behind Batman v Superman: Dawn of Justice and The Hunger Games).[99] An estimated 41% of the gross came from IMAX, 3D and premium large format screenings which began at 6 pm, while the rest – 59% – came from regular 2D shows which began at 7 p.m.[100] The numbers were considered more impressive given that the film played during a school week.[101]

text: On its opening day, the film made $63.8 million from 4,210 theaters across 9,200 screens, marking the third biggest in the month of March, trailing behind Batman v Superman ($81.5 million) and The Hunger Games ($67 million).[102][103] It was also the biggest opening day ever for a film that wasn't PG-13, displacing the $58 million opening Wednesday of Harry Potter and the Half-Blood Prince. Its opening day alone (which includes Thursday's previews) almost matched the entire opening weekend of previous Disney live-action films, Maleficent ($69.4 million) and Cinderella ($67.9 million).[104] Unlike all previous four Disney live-action films witnessing a hike on their second day, Saturday, Beauty and the Beast actually fell -2%, but nevertheless, the dip was paltry, and the grosses are so much bigger compared to the other titles.[82] Earning a total of $174.8 million on its opening weekend, it defied all expectations and went on to set numerous notable records.[105] This includes the biggest opening of the year as well as the biggest for the month of March and pre-summer/spring opening, beating Batman v Superman,[106][107] the biggest start ever for a PG title (also for a family film), surpassing Finding Dory,[108] the biggest debut of all time for a female-fueled film, ahead of The Hunger Games: Catching Fire,[109] the biggest for a Disney live-action adaptation, ahead of Alice in Wonderland[109] and the biggest musical debut ever, supplanting Pitch Perfect 2. Furthermore, it is also Watson's highest-opening, beating Harry Potter and the Deathly Hallows – Part 2 same with Emma Thompson, director Bill Condon's biggest debut ever ahead of The Twilight Saga: Breaking Dawn – Part 2 and the biggest outside of summer, save for Star Wars: The Force Awakens, not accounting for inflation.[105]

text: It became the forty-third film to debut with over $100 million and the fifteenth film to open above $150 million. Its three-day opening alone surpassed the entire original North American run of the first film ($146 million; before the 3D re-release), instantly becoming the second biggest film of the year, behind Logan ($184 million), and also the second highest-grossing musical, behind Grease's $188 million cumulative gross in 1978.[110] 70% of the total ticket sales came from 2D showings signifying that people who don't go to theaters frequently came out in bulk to watch the film. About 26% of the remaining tickets were for 3D. IMAX accounted for 7% ($12.5 million) of the total weekend's gross, setting a new record for a PG title, ahead of Alice in Wonderland ($12.1 million) while PLF repped 11% of the box office.[82] 70% of the film's opening day demographic was female, dropping to 60% through the weekend.[109] According polling service PostTrak, about 84 percent of American parents who saw the film on its opening day said they would "definitely" recommend it for families.[111][112] The film's opening was credited to positive word of mouth from audiences, good reviews from critics, effective marketing which sold the title not just as a family film but also as a romantic drama, the cast's star power (especially Emma Watson), lack of competition, being the first family film since The Lego Batman Movie a month earlier, nostalgia, and the success and ubiquity of the first film and Disney's brand.[111][113]

text: On Monday, its fourth day of release, the film fell precipitously by 72% earning $13.5 million. The steep fall was due to a limited marketplace where only 11% K-12 and 15% colleges were off per ComScore. Nevertheless, it is the second biggest March Monday, behind Batman v Superman ($15 million).[114] This was followed by the biggest March and pre-summer Tuesday with $17.8 million, a +32% increase from its previous day. The same day, the film passed $200 million in ticket sales.[115] It earned $228.6 million in the first week of release, the sixth-biggest seven-day gross of all time.[116] In its second weekend, the film continued to maintain the top positioning and fell gradually by 48% earning another $90.4 million to register the fourth-biggest second weekend of all time, and the third-biggest for Disney.[117] In terms of percentage drop, its 48% decline is the third-smallest drop for any film opening above $125 million (behind Finding Dory and The Force Awakens).[77] The hold was notable considering how the film was able to fend off three new wide release; Power Rangers, Life, and CHiPs.[118] As a result, it passed the $300 million threshold becoming the first film of 2017 the pass said mark.[119] The film grossed $45.4 million in its third weekend, finally being overtaken for the top spot by newcomer The Boss Baby ($50.2 million).[120] On April 4, 2017, its nineteenth day of release, it passed the $400 million threshold becoming the first film of 2017 to do so.[121] By its fourth weekend, the film began was playing in 3,969 cinemas, a fall of 241 theaters from its previous weekend. Of those, approximately 1,200 cinemas were sing-along versions. It earned $26.3 million (-48%) and retained second place. By comparison, previous Disney films Moana (−8%) and Frozen (−2%) both witnessed mild percentage declines the weekend their sing-alone versions were released.[122] Its seventh weekend of release was in contemporaneous with another Emma Watson-starring new film The Circle.[123] That weekend, The Circle was number four, while Beauty and the Beast was at number six.[124] By May 28, the film had earned over $500 million in ticket sales becoming the first (and currently only) film of 2017, the third female-fueled film (after The Force Awakens and Rogue One: A Star Wars Story followed by Wonder Woman) and the eighth overall film in cinematic history to pass the mark.[125][126][127]

text: It has already become the biggest March release, dethroning The Hunger Games (2012),[128] the biggest musical film (both animated and live-action),[129] as well as the biggest film of 2017.[130]

text: Outside North America

text: Internationally, the film began playing on Thursday, March 16, 2017. Through Sunday, March 19, it had a total international opening of $182.3 million from 55 markets, 44 of which were major territories, far exceeding initial estimations of $100 million and opened at No. 1 in virtually all markets except Vietnam, Turkey, and India. Its launch is the second biggest for the month of March, behind Batman v Superman ($256.5 million). In IMAX, it recorded the biggest debut for a PG title (although it carried varying certificate amongst different markets) with $8.5 million from 649 screens, the second biggest for a PG title behind The Jungle Book.[131] In its second weekend, it fell just by -35% earning another $120.6 million and maintaining its first position hold. It added major markets like France and Australia.[132] It top the international box office for three consecutive weekends[133] before finally being dethroned by Ghost in the Shell and The Boss Baby in its fourth weekend. Despite the fall, the film helped Disney push past the $1 billion thresold internationally for the first time in 2017.[134][89]

text: It scored the biggest opening day of the year in Hong Kong and the Philippines, the biggest March Thursday in Italy ($1 million, also the biggest Disney Thursday debut), the biggest March opening day in Austria, and the second biggest in Germany ($1.1 million), Disney's biggest March in Denmark, the biggest Disney live-action debut in China ($12.6 million), the UK ($6.2 million), Mexico ($2.4 million) and Brazil ($1.8 million) and the third biggest in South Korea with $1.2 million, behind only Pirates of the Caribbean: At World's End and Pirates of the Caribbean: On Stranger Tides.[135][136] In terms of opening weekend, the largest debut came from China ($44.8 million), followed by the UK ($24.3 million), Korea ($11.8 million), Mexico ($11.8 million), Australia ($11.1 million), Brazil ($11 million), Germany ($10.7 million), France ($8.4 million), Italy ($7.6 million), Philippines ($6.3 million), Russia ($6 million) and Spain ($5.8 million).[131][132]

text: In the United Kingdom and Ireland, the film recorded the biggest opening ever for a PG film, the biggest Disney live-action opening of all time, the biggest March opening weekend, the biggest opening for a musical (ahead of 2012's Les Misérables), the number one opening of 2017 to date and the fifth-biggest ever overall with £19.7 million ($24.5 million) from 639 theatres and almost twice that of The Jungle Book (£9.9 million).[137] This included the second biggest Saturday ever (£7.9 million), only behind Star Wars: The Force Awakens.[138] It witnessed a decline in its second weekend, earning £12.33 million ($15.4 million). Though the film was falling at a faster rate than The Jungle Book, it had already surpassed the said film and its second weekend is the third biggest ever (behind the two James Bond films Skyfall (2012) and Spectre).[139][132] In India, despite facing heavy competitions from four new Hindi releases, two Tamils films and a Malayalam and a Punjabi release, the film managed to take an occupancy of 15% on its opening day, an impressive feat despite tremendous competitions.[140][141][142] It earned around ₹1.5 crore (US$230,000) nett on its opening day from an estimated 600 screens which is more than the three Hindi releases – Machine, Trapped and Aa Gaya Hero – combined.[143] Disney reported a total of ₹9.26 crore (US$1.4 million) gross for its opening weekend there. It was ahead of all new releases and second overall behind Bollywood film Badrinath Ki Dulhania.[144][145][146] In Russia, despite receiving a restrictive 16 rating, the film managed to deliver a very successful opening with $6 million.[147]

text: In China, expectations were high for the film. The release date was announced on January 24, giving Disney and local distributor China Film Group Corporation ample time – around two months – to market the film nationwide. The release date was strategically chosen to coincide with White Day. Preliminary reports suggested that it could open to $40–60 million in its opening weekend. Largely driven by young women, its opening day pre-sales outpaced that of The Jungle Book.[148] The original film was however never widely popular in the country.[149] Although China has occasionally blocked gay-themed content from streaming video services, in this case, Chinese censors decided to leave the gay scene intact. According to local box office tracker Ent Group, the film grossed an estimated $12.1 million on its opening day (Friday), representing 70% of the total receipts. Including previews, it made a total of $14.5 million from 100,000 screenings, which is 43% of all screenings in the country.[150] It climbed to $18.5 million on Saturday (102,700 showings) for a three-day total of $42.6 million, securing 60% of the total marketplace. Disney on the other hand reported a different figure of $44.8 million.[151][152] Either ways, it recorded the second biggest opening for a Disney live-action film,[149] with $3.4 million coming from 386 IMAX screens.[131] Japan – a huge Disney market – served as the film's final market and opened there on April 21[132] It debuted with a better-than-expected $12.5 million on its opening weekend helping the film push past the $1.1 billion threshold. An estimated $1.1 million came from IMAX screenings, the fourth-biggest ever in the country.[153][154] The two day gross was $9.7 million, outstripping Frozen's previous record of $9.5 million.[155] Due to positive reviews, good word-of-mouth and benefitting from the Golden Week, the film saw a 9% increase on its second weekend. The hold was strong enough to fend off newcomer The Fate of the Furious from securing the top spot. The total there is now over $98 million after seven weekends[156][157][158] and is the biggest film release of the year and overall the eleventh biggest of all time.[159] It topped the box office there for eight consecutive weekends.[160][161]

text: The only markets where the film did not top the weekend charts were Vietnam (behind Kong: Skull Island), Turkey (with two local movies and Logan ahead) and India (where Badrinath Ki Dulhania retained No. 1).[131] It topped the box office for four straight weekends in Germany, Korea, Austria, Finland, Poland, Portugal, Brazil, Venezuela, Bolivia, Switzerland and the UK (exclusive of previews).[134][162] In the Philippines, it emerged as the most commercial successful film of all time – both local and foreign – with over $13.5 million.[163] In just five weeks, the film became one of the top 10 highest-grossing film of all time in the United Kingdom and Ireland, ahead of all but one Harry Potter film (Deathly Hallows – Part 2) and all three The Lord of the Rings movies (which also starred Ian McKellen).[164] It is currently the eighth biggest grosser with £70.1 million ($90 million), overtaking Mamma Mia! to become the biggest musical production ever there.[153][165] The biggest international earning markets following the UK are Japan ($108 million), China ($85.8 million), Brazil ($41.5 million), Korea ($37.5 million), and Australia ($35 million).[160] In Europe alone, the cumulative total is $267 million to become the second-highest-grossing film in the past 1 year (behind Rogue One: A Star Wars Story).[166][153][156]

text: Critical response

text: Beauty and the Beast received mostly yet generally positive reviews, with praise for the faithfulness to the original film with a few elements of the Broadway musical version, cast performances, visuals, Jacqueline Durran's costume designs, Alan Menken's musical score and songs, though the designs of the Beast and the servants' household object forms received mixed reviews.[167][168] On review aggregator Rotten Tomatoes, the film has an approval rating of 70% based on 284 reviews, with an average rating of 6.6/10. The site's critical consensus reads, "With an enchanting cast, beautifully crafted songs, and a painterly eye for detail, Beauty and the Beast offers a faithful yet fresh retelling that honors its beloved source material."[169] On Metacritic, the film has a score of 65 out of 100, based on 47 critics, indicating "generally favorable reviews".[170] In CinemaScore polls, audiences gave the film an average grade of "A" on an A+ to F scale.[171][172]

text: Leslie Felperin of The Hollywood Reporter wrote: "It's a Michelin-triple-starred master class in patisserie skills that transforms the cinematic equivalent of a sugar rush into a kind of crystal-meth-like narcotic high that lasts about two hours." Felperin also praised the performances of Watson and Kline as well the special effects, costume designs and the sets while commended the inclusion of Gad's character of LeFou as the first LGBT character in Disney.[173] Owen Gleiberman of Variety, in his positive review of the film, wrote: "It's a lovingly crafted movie, and in many ways a good one, but before that it's an enraptured piece of old-is-new nostalgia." Gleiberman compared Steven's character of the Beast to a royal version of the titular character in The Elephant Man and the 1946 version of the Beast in Jean Cocteau's original adaptation.[174] A. O. Scott of The New York Times praised the performances of both Watson and Stevens, and wrote: "It looks good, moves gracefully and leaves a clean and invigorating aftertaste. I almost didn't recognize the flavor: I think the name for it is joy."[175] Likewise, The Washington Post's Ann Hornaday complimented Watson's performance, describing it as "alert and solemn" while noting her singing ability as "serviceable enough to get the job done".[176] Richard Roeper of Chicago Sun-Times awarded the film three and a half stars, lauded the performances of Watson and Thompson which he drew a comparison to Paige O'Hara's and Angela Lansbury's performances in the 1991 animated version while appreciating the performances of the other cast and also pointing out on its usage of the combination of motion capture and CGI technology as a big advantage which he stated: "Almost overwhelmingly lavish, beautifully staged and performed with exquisite timing and grace by the outstanding cast".[177] Mike Ryan of Uproxx praised the cast, production design and the new songs while noting the film doesn't try anything different, saying: "There's certainly nothing that new about this version of Beauty and the Beast (well, except it isn't a cartoon anymore), but it's a good recreation of a classic animated film that should leave most die-hards satisfied."[178] In her A- review, Nancy Churnin of The Dallas Morning News praised the film's emotional and thematic depth: "There's an emotional authenticity in director Bill Condon's live-action Beauty and the Beast film that helps you rediscover Disney's beloved 1991 animated film and 1994 stage show in fresh, stirring ways."[179]

text: Brian Truitt of USA Today commended the performances of Evans, Gad, McGregor and Thompson alongside Condon's affinity with musicals, the production design, visual effects featured in some of the song numbers including new songs made by the composers Alan Menken and Tim Rice, particularly Evermore which he described the new song with a potential for an Academy Award for Best Original Song.[180] Peter Travers of Rolling Stone rated the film three out of four stars which he deemed it as an "exhilarating gift" while he remarked that "Beauty and the Beast does justice to Disney's animated classic, even if some of the magic is M.I.A (Missing in Action)."[181] Stephanie Zacharek of Time magazine gave a positive review with a description as "Wild, Vivid and Crazy-Beautiful" as she wrote "Nearly everything about Beauty and the Beast is larger than life, to the point that watching it can be a little overwhelming." and added that "it’s loaded with feeling, almost like a brash interpretive dance expressing the passion and elation little girls (and some boys, too) must have felt upon seeing the earlier version."[182] The San Francisco Chronicle's Mick LaSalle struck an affirmative tone, calling it one of the joys of 2017, stating that "Beauty and the Beast creates an air of enchantment from its first moments, one that lingers and builds and takes on qualities of warmth and generosity as it goes along" while referring the film as "beautiful" and also praised the film for its emotional and psychological tone as well Steven's motion capture performance.[183] Tim Robey of The Daily Telegraph gave the film four stars out of five and wrote that "It dazzles on this chocolate box of a picture that feels almost greedy yet to make this film work, down to a sugar-rush finale to grasp the nettle and make an out-an-out, bells-and-whistles musical" while he praised the performances of Watson, McKellen, Thompson, McGregor, Evans and Gad.[184] Mark Hughes of Forbes also similarly praised the film which he wrote that "it could revive the story in a faithful but entirely new and unique way elevating the material beyond expectations, establishing itself as a cinematic equal to the original" and also complimented the importance of undertaking a renowned yet problematic masterpiece as well addressing changes in the elements of the story while acknowledging the film's effectiveness in resonating to the audiences.[185]

text: Several critics regarded the film as inferior to its 1991 animated predecessor. David Sims of The Atlantic wrote that the 2017 film "feels particularly egregious, in part, because it’s so slavishly devoted to the original; every time it falls short of its predecessor (which is quite often), it’s hard not to notice".[186] Michael Phillips of the Chicago Tribune said that the 2017 film "takes our knowledge and our interest in the material for granted. It zips from one number to another, throwing a ton of frenetically edited eye candy at the screen, charmlessly." Phillips wrote that the film featured some "less conspicuously talented" performers who are "stuck doing karaoke, or motion-capture work of middling quality", though he praised Kline's performance as the "best, sweetest thing in the movie; he brings a sense of calm, droll authority".[187] Peter Bradshaw of The Guardian praised Watson's performance and wrote that the film was "lit in that fascinatingly artificial honey-glow light, and it runs smoothly on rails – the kind of rails that bring in and out the stage sets for the lucrative Broadway touring version." In the same newspaper, Wendy Ide criticized the film as "ornate to the point of desperation" in its attempt to emulate the animated film.[188][189]

text: Chris Nashawaty of Entertainment Weekly gave the film a B-, writing that while the film looks "exceptionally great", he sensed that the new songs were "not transporting". He felt the film needed more life and depth, but praised Watson's and Steven's performances as the "film’s stronger elements".[190] Dana Schwartz of the Observer felt that some of the characters, such as Gaston and the Beast, had been watered down from the 1991 film, and that the additional backstory elements failed to "advance the plot or theme in any meaningful way" while adding considerable bloat. Schwartz considered the singing of the cast to be adequate but felt that their voices should have been dubbed over, especially for the complex songs.[191]

text: Accolades

text:
Award
Date of ceremony
Category
Recipient(s) and nominee(s)
Result
Ref.

MTV Movie & TV Awards
May 7, 2017
Movie of the Year
Beauty and the Beast
Won
[192]

Best Actor in a Movie
Emma Watson
Won

Best Kiss
Emma Watson and Dan Stevens
Nominated

Best Duo
Josh Gad and Luke Evans
Nominated

Teen Choice Awards
August 13, 2017
Choice Movie: Fantasy
Beauty & the Beast
Won
[193][194]

Choice Movie: Fantasy Actor
Dan Stevens
Nominated

Choice Movie: Fantasy Actress
Emma Watson
Won

Choice Movie Villain
Luke Evans
Won

Choice Movie Ship
Emma Watson and Dan Stevens
Won

Choice Liplock
Won

Choice Scene Stealer
Josh Gad
Nominated

Choice Hissy Fit
Luke Evans
Nominated

Dan Stevens
Nominated

tag: table

text: Controversies

text: Gay character

text: Controversy erupted after director Bill Condon said there was a "gay moment" in the film, when LeFou briefly waltzes with Stanley, one of Gaston's friends.[195] Afterwards in an interview with Vulture.com, Condon stated, "Can I just say, I’m sort of sick of this. Because you’ve seen the movie—it's such a tiny thing, and it’s been overblown." Condon also added that Beauty and the Beast features much more diversity than just the highly-talked-about LeFou: "That was so important. We have interracial couples—this is a celebration of everybody's individuality, and that’s what’s exciting about it.”[196] GLAAD president and CEO Sarah Kate Ellis praised the move stating, "It is a small moment in the film, but it is a huge leap forward for the film industry."[197]

text: In Russia, Vitaly Milonov agitated the culture minister for banning the film,[198] but instead it was given a 16+ rating (children under the age of 16 can only be admitted to see it in theaters with accompanying adults).[199] Additionally, a theater in Henagar, Alabama did not screen the film because of the subplot.[200] In Malaysia, the Film Censorship Board insisted the "gay moment" scene be cut, prompting an indefinite postponement of its release by Disney, followed by their decision to withdraw it completely if it could not be released uncensored.[201][202][203] The studio moved the release date to March 30, to allow more time for Malaysia's censor board to make a decision on whether or not to release the film without changes.[204] The distributors and producers then submitted an appeal to the Film Appeal Committee of Malaysia, which allowed the film to be released without any cuts and a P13 rating on the grounds that the "gay element" was minor and did not affect the positive elements featured in the film.[205][206] In Kuwait, the movie was withdrawn from cinemas by National Cinema Company which owns most of the cinemas in the country. A board member of the company stated that the Ministry of Information's censorship department had requested it to stop its screening and edit it for things deemed offensive by it.[207]

text: There were also a number of boycotts against the film. A call to boycott on LifePetitions received over 129,000 signatures,[208] while the American Family Association featured a petition to boycott with the film, asking the public to help crowdfund a CGI version of Pilgrim's Progress instead.[209]

text: Belle and the Beast's relationship

text: Disney has sought to portray Belle as an empowered young woman,[210] but a debate questioning whether it is possible to fall in love with someone who is holding you prisoner, and whether this is a problematic theme, has resulted.[211] As was the case with the original animated film, one argument is that Belle suffers from Stockholm syndrome (a condition that causes hostages to develop a psychological alliance with their captors as a survival strategy during captivity). Emma Watson studied whether Belle is trapped in an abusive relationship with the Beast before signing on and concluded that she does not think the criticism fits this version of the folk tale.[212][213] Watson described Stockholm Syndrome as "where a prisoner will take on the characteristics of and fall in love with the captor. Belle actively argues and disagrees with [Beast] constantly. She has none of the characteristics of someone with Stockholm Syndrome because she keeps her independence, she keeps that freedom of thought", also adding that Belle defiantly "gives as good as she gets" before forming a friendship and romance with the Beast.[214]

text: Psychiatrist Frank Ochberg, who coined the term "Stockholm syndrome", said he does not think Belle exhibits the trauma symptoms of prisoners suffering from the syndrome because she does not go through a period of feeling that she is going to die.[215] Some therapists, while acknowledging that the pairing's relationship does not meet the clinical definition of Stockholm syndrome, argue that the relationship depicted is dysfunctional and abusive and does not model healthy romantic relationships for young viewers.[216][217] Constance Grady of Vox writes that Jeanne-Marie Leprince de Beaumont's Beauty and the Beast was a fairy tale originally written to prepare young girls in 18th century France for arranged marriages, and that the power disparity is amplified in the Disney version.[218] Anna Menta of Elite Daily argued that the Beast does not apologize to Belle for imprisoning, hurting, or manipulating her, and his treatment of Belle is not painted as wrong.[219]

text: Notes

text: ^ Jump up to: a b Beauty and the Beast at Box Office Mojo. Retrieved August 14, 2017.

tag: ol


document_title: Carbylamine reaction

question_text: when primary amine reacts with chcl3 in alcoholic koh the product is

text: Carbylamine reaction

text: The carbylamine reaction, also known as Hoffman's isocyanide test is a chemical test for detection of primary amines.[1] In this reaction, the analyte is heated with alcoholic potassium hydroxide and chloroform. If a primary amine is present, the isocyanide (carbylamine) is formed which are foul smelling substances.

text: For example, the reaction with ethylamine:

text: The reaction with aniline:

text: The carbylamine test does not give a positive reaction with secondary and tertiary amines.


document_title: Stevenson

question_text: where does the last name stevenson come from

text: Stevenson

text:
Stevenson

Language(s)
English

Origin

Region of origin
England

Meaning
"son of Steven"
(from Greek stephanos, meaning "crown")

Other names

Variant(s)
DeStefano, DiStefano, Estébanez, Esteves, Estévez, Estevez, Istvánffy, Istvánfi, Stefanenko, Ştefănescu, Stefanovski, Stefánsson, Stefánsson, Stefanou, Stefanović, Stefanowicz, Steffensen, Stepanenko, Stepanov, Stepanović, Stepanosyan, Stepanyan, Stephanopoulos, Stephenson, Steponavičius, Stevanović, Stjepanović, Szczepanowicz

Footnotes: Frequency comparisons[1]

text: Stevenson is an English language patronymic surname meaning "son of Steven". Its first historical record is from pre-10th-century England.[2] Another origin of the name is as a toponymic surname related to the place Stevenstone in Devon, England.[3] There are variant spellings of the name, including Stephenson.

text: Notable people sharing this surname include:

text:
Adonis Stevenson (born 1977), Canadian boxer
Alexander Campbell Stevenson (1802–1889), American politician and physician
Alexandra Stevenson (born 1980), American tennis player
Ben Stevenson (born 1936), British ballet dancer and director
Carter L. Stevenson (1817–1888), American soldier
Charles Stevenson (1908–1979), American philosopher
Coke Stevenson (1888–1975), American politician, Governor of Texas 1941–47
Dani Stevenson (born 1980), American R&B singer
DeShawn Stevenson (born 1981), American basketball player
Eric Stevenson (disambiguation)
Fox Stevenson (born Stanley Stevenson Byrne, 1993), English music producer
Frank A. Stevenson (born 1970), Norwegian computer game developer and cryptographer
Ian Stevenson (1918–2007), Canadian psychiatrist and reincarnation researcher
James Stevenson (died 1805), East India Company officer
Jessica Hynes (née Stevenson) (born 1972), English writer and actress
John Stevenson (disambiguation)
J. J. Stevenson (1831–1908), British architect of the late-Victorian era
Juliet Stevenson (born 1956), English actress
Laura Stevenson (born 1984), American singer-songwriter
Leigh Stevenson (1895–1989), Canadian air marshal
Lewis Stevenson (disambiguation)
Llanchie Stevenson, African-American ballet dancer
Monica Lisa Stevenson (born 1967), American gospel musician
Morris Stevenson (1943–2014), Scottish footballer
R. Parker Stevenson (born 1952), U.S. television actor
Robert Stevenson (disambiguation)
Ronald Stevenson (1928–2015), Scottish composer
Ryan Stevenson (disambiguation)
Savannah Stevenson (born 1983), English musical theatre actress
Stewart Stevenson (born 1946), Scottish politician
Teófilo Stevenson (born 1952), Cuban boxer
Toby Stevenson (born 1976), American pole vaulter
Tom Stevenson (born 1951) British wine writer
Tommy Stevenson (1914–1944), jazz trumpet player
Trudy Stevenson (born 1944), Zimbabwean politician
William Bennet Stevenson (c. 1787 – c. 1830), British explorer

text: Middle name:

text: Willie Stevenson Glanton (1922-2017), American politician

text: Extended families:

text:
Stevenson family from Illinois

Adlai Stevenson I (1835–1914), U.S. Vice President
Adlai Stevenson II (1900–1965), American politician, governor of Illinois
Adlai Stevenson III (born 1930), U.S. Senator from Illinois
Lewis Stevenson (politician) (1868–1929), American politician from Illinois
McLean Stevenson (1929–1996), actor

Scottish family of (mostly) lighthouse engineers

Alan Stevenson (1807–1865), lighthouse engineer
Charles Alexander Stevenson (1855–1950), lighthouse engineer
D. E. Stevenson (1892–1973), author
David Stevenson (engineer) (1815–1886), lighthouse engineer
David Alan Stevenson (1854–1938), lighthouse engineer
Robert Stevenson (civil engineer) (1772–1850), lighthouse engineer
Robert Alan Mowbray Stevenson (1847–1900), art critic
Robert Louis Stevenson (1850–1894), author of Treasure Island and The Strange Case of Dr. Jekyll and Mr. Hyde
Thomas Stevenson (1818–1887), lighthouse designer

Scottish family with links to Tyneside

Flora Stevenson (1839–1905) education reformer
J. J. Stevenson (1831–1908), architect
James Cochran Stevenson (1825–1905) chemical manufacturer and Member of Parliament
Louisa Stevenson (1835–1908), campaigner for women's causes
Nathaniel Stevenson (1840–1811), General and Governor of Guernsey
James Stevenson-Hamilton (1867–1957), 16th of Fairolm and Kruger National Park ranger
Hilda Runciman (1869–1956), MP for St. Ives, 1928–1929


document_title: No worries

question_text: where does the phrase no worries come from

text: No worries

text: Definition[edit]

text: "No worries" is an Australian English expression, meaning "do not worry about that",[1] or "that's all right".[2] It can also mean "sure thing"[3] and "you're welcome".[4] Other colloquial Australian terms which mean the same thing include "she'll be right".[5] The expression has been compared to the American English equivalent "no problem".[6] In their book Australian Language & Culture: No Worries!, authors Vanessa Battersby, Paul Smitz and Barry Blake note: "No worries is a popular Australian response akin to 'no problems', 'that's OK' or 'sure thing'."[7]

text: Cultural origins[edit]

text: Early documentation dates the phrase back to 1966.[8] According to author of When Cultures Collide: Leading Across Cultures, Richard D. Lewis, the phrase is a form of expression of the relaxed attitude in Australian culture.[9] Anna Wierzbicka comments that the expression illustrates important parts of Australian culture, including: "amiability, friendliness, an expectation of shared attitudes (a proneness to easy 'mateship'), jocular toughness, good humour, and, above all, casual optimism".[10] She concludes that along with "good on you", the expressions reflect the "national character" and "prevailing ethos" of Australia.[11] Though initially utilized in Australia, the phrase migrated to New Zealand as well.[12][13]

text: Usage[edit]

text: Wierzbicka writes in her book Cross-cultural Pragmatics that the expression "permeates Australian speech", "serves a wide range of illocutionary forces" and displays a "casual optimism".[14] In her 1992 book Semantics, Culture, and Cognition, Wierzbicka classifies the phrase as "among the most characteristic Australian expressions", along with "good on you".[10]

text: The term can also be used in the context of an apology.[15] The phrase has been used widely in British English since the late 1980s, a development partly attributed to the success of Australian soap operas such as Neighbours in the United Kingdom.[16]

text: The phrase "no wucking forries" has the same meaning in Australia; as a spoonerism of "no fucking worries",[1][17] and is contracted to the phrases "no wuckers" and "no wucks".[1]

text: Influence[edit]

text: "No worries" was referred to as "the national motto" of Australia in 1978,[10] and in their 2006 work, Diving the World, Beth and Shaun Tierney call "no worries, mate" the national motto of the country.[4] Writing in The New York Times Book Review, Annette Kobak calls the expression a "ritual incantation" which has "particular charm".[18] The phrase "no waris" in the Papua New Guinea language Tok Pisin is derived from the Australian English term.[19][20]

text: According to The Sunday Mail a 2004 newspaper report notes that "no worries" has begun to be used in American English.[21] Writing in a 2004 article for The Advertiser, Samela Harris comments: "The Americans have no idea of the etymology of 'no worries'. So, while they may cheerily adopt our 'no worries' mantra, 'no worries' will never catch on as an attitude."[22] According to Tom Dalzell, author of two books on slang usage in the United States, linguistics experts are not certain how the expression became popular in that country.[23] Usage of the term by Steve Irwin on The Crocodile Hunter, as well as attempts by members of the American press to imitate the expression during the 2000 Sydney Olympics, have been put forth as theories explaining the pervasiveness of the expression in the United States.[23] Linguistics professor Kate Burridge writes in her 2004 book Weeds In the Garden Of Words that expressions including "no worries", "absolutely", and "bottom line" have become less prevalent in favor of newer sayings.[24] The phrase has had some usage in Canadian English.


document_title: Forged from the Love of Liberty

question_text: what is the national anthem of trinidad and tobago

text: Forged from the Love of Liberty

text:
Forged from the Love of Liberty

National anthem of  Trinidad and Tobago

Lyrics
Patrick Castagne, 1962

Music
Patrick Castagne, 1962

Adopted
1962 by Trinidad and Tobago

Audio sample

Forged from the Love of Liberty

file
help

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text: "Forged from the Love of Liberty" is the national anthem of the Republic of Trinidad and Tobago. Originally composed as the national anthem for the short-lived West Indies Federation (1958–1962), this song was edited and adopted by Trinidad and Tobago when it became independent in 1962.[1]

text: Patrick S. Castagne composed the words and music of the National Anthem in 1962.[2] Mr Castagne, a renowned West Indian songwriter, was employed at the Trinidad and Tobago Commission in London.[1] One of his compositions, called "A Song for the Islands"[2] or A Song for Federation,[1] was submitted to the West Indies Federation as a possible anthem.[2]

text: When the Federation collapsed, he changed some of the lines and resubmitted the song to Trinidad and Tobago[2] for the competition to choose the National Anthem. In total, the competition received 834 word only entries, 33 music only entries and 306 word and music entries. Mr. Castagne's submission came out on top and he won the price of $5,000.00 in Government Bonds and a gold medal inscribed with the Coat of Arms of Trinidad and Tobago.[1]

text: Castagne's alteration of A Song for Federation was deemed to be most suitable for a twin-island state that consisted of "islands of the blue Caribbean Sea" standing "side by side" in promoting the values of "every creed and race" finding "an equal place" in the multi-racial, multi-religious and multi-cultural society of Trinidad and Tobago as it existed in 1962.[1] It was considered to have reflected the nature and the strength of the people of Trinidad and Tobago and their courage as one nation working towards living in unity despite the existing diversity.[2] According to an excerpt from the editorial in the Sunday Guardian of 19 August 1962: "In its solemn declaration of brotherhood and unity, it very neatly includes Tobago with Trinidad without mentioning the name of either ("Side by side we stand, islands of the blue Caribbean Sea"); and as an added impulse to unity it goes on to describe them together as "our native land," ending with the petition, "And may God bless our nation."[1]

text: Lyrics[edit]

text: Words and music by Patrick Castagne (1916–2000).[3]

text: Lyrics for A Song for Federation[edit]

text: Castagne’s A Song For Federation provided the musical inspiration that could have matched the foundation of a strong federation had it survived. The close resemblance between the National Anthem of Trinidad and Tobago and A Song For Federation can seen from the lyrics of the latter as follows:[1]